Rob Sheffield
Rob Sheffield
Rob Sheffieldis an American music journalist and author...
NationalityAmerican
ProfessionJournalist
Date of Birth2 February 1966
CountryUnited States of America
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Big Star invented a vision of bohemian rock & roll cool that had nothing to do with New York, Los Angeles or London, which made them completely out of style in the 1970s, but also made them an inspiration to generations of weird Southern kids.
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Thank you for the music, Sleater-Kinney. This gang of three was the best American punk rock band ever. Ever.
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The sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.
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When I started out as a music journalist, at the end of the 1980s, it was generally assumed that we were living through the lamest music era the world would ever see. But those were also the years when hip-hop exploded, beatbox disco soared, indie rock took off, and new wave invented a language of teen angst.
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Rock stars did not invent burning out. They just do it louder.
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One of the best moments of any Liars show is hearing the crowd squawk 'We're doomed! We're doomed!' on cue during 'We Fenced Other Houses with the Bones of Our Own.' Maybe not the most uplifting audience sing-along in the indie rock world, but one of the most reliably entertaining.
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Anyone watching '30 Rock' always knew Tina Fey was playing a fictionalized version of herself, a workaholic comedy writer who also plays one on TV. She's the boss; Liz Lemon just works here.
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'Drive,' that's the one. I love dozens of songs by R.E.M., but that's the one, even though it took me 7 or 8 years to start liking it.
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Both of my books, 'Love Is a Mix Tape' and 'Talking to Girls About Duran Duran,' are about how music gets tangled up with all our other emotional memories. Since I'm an obsessive music fan, I'm always seeking out new sonic thrills.
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Thanks for existing, R.E.M. It's hard to overstate how much these guys changed everything, creating an entire rock audience in their own image.
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That's the rub about 'Community' - for all the high-concept cleverness, it really comes down to vulgar humanism, the dumbest kind of sentimental identification. We watch it because we like these people and we miss them when they don't show up. They become part of the stories we tell ourselves.
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Hardly anyone liked R.E.M. who didn't like them way too much, so part of being an R.E.M. fan meant getting wildly overinvested and then feeling vaguely disappointed by whatever they did next.
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'Buncha Losers' comedy is one of those homegrown American art forms, up there with infomercials and Elvis-shaped soap carvings. No other civilization could have invented it. The French took a stab with Sartre's 'No Exit,' but then they had to ruin it with a lesson at the end.
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People who wave digital cameras at shows are the same people who sit in front of you at hockey games and wear those giant foam-rubber fingers that say, We're number one!'